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Pretty Woman: The Musical, Johannesburg

10 December 2025 by Con Tributor

Local theatre fans, it’s time to fall in love again – with a classic ‘90s story (the famous film starring Julia Roberts and Richard Gere), brilliant music (from rock superstar Bryan Adams and his longtime songwriting partner Jim Vallance, as well as the title track “Oh, Pretty Woman”, the hit by Roy Orbison and Bill Dee) and the phenomenal cast of fresh South African talent bringing Pretty Woman: The Musical to the stage at Montecasino’s Teatro from 24 April.

Starring as Vivian Ward is the brilliant Leah Mari, who made her professional debut as the alternate ‘Maria’ in The Sound Of Music 2023/24 and won the Fleur du Cap Theatre Award for “Best Performance by a Lead Actress in a Musical” for playing Eliza Doolittle in My Fair Lady 2024/25. Most recently Leah played the role of Kitty in CHICAGO The Musical. As the suave Edward Lewis, the versatile Christopher Jaftha, who recently starred as Potiphar, Jacob and Pharaoh in Joseph and the Amazing Technicolour Dreamcoat. His other stage credits includeAfrican Footprint, Aladdin and West Side Storyand was recently nominated as NFTA Best Actor for his work in the film Khaki Fever.

Kit De Luca, Vivian’s best friend, will be played by Thuto Lesedi Gaasenwe (For Coloured Girls, The Jungle Book, A Place of Knowing), with Tiaan Rautenbach (We Will Rock You, MAMMA MIA!, The Addams Family: The Musical) starring as Happy Man, the hotel manager. Daniel Conradie (Joseph and the Amazing Technicolour Dreamcoat, My Fair Lady, Hairspray) plays Edward’s lawyer Philip Stuckey.

The ensemble is packed with talent. Look out for Bo Molefe (Showtime Australia’s The Michael Jackson HIStory Show, Peter Pan, Beauty and the Beast); Bradley Smith (MAMMA MIA!, Beauty and the Beast, Joseph and the Amazing Technicolour Dreamcoat); Stuart Brown (We Will Rock You, MAMMA MIA!, Joseph and the Amazing Technicolor Dreamcoat) and Bella Smith (Meatloaf: The Rebel Ride, Once Upon A Time); Sandi Dlangalala (Hlakanyana TheMusical, My Fair Lady, Peter Pan); Dylan Du Plessis (Joseph and the Amazing Technicolor Dreamcoat, Adventures in Pantoland, Beauty and the Beast), Liyabuya Gongo (Thirst, Workers Chant, Swan Lake); Michelle Juncker (Noises Off, Joseph and the Amazing Technicolor Dreamcoat, Beyond); Virtuous Kandemiri (The Buddy Holly Story, 1999: The Ultimate Prince Experience, The Jungle Book); Yethu Kibi (Heathers, Joseph and the Amazing Technicolour Dreamcoat, Pippin); James Mc Phail (A Chorus Line, Fiddler on the Roof, Love! Valour! Compassion!); Danny Meaker (Hamlet, Othello, Alice in Wonderland); Chichi Nwoha (Cinderella Jr, Sarafina!, Chicago The Musical); Jordan Rogers (Beauty and the Beast, Pinocchio); Lesego van Niekerk (African Footprint, West Side Story, CHICAGO the Musical); Gugu Dhlamini (Jack and The Beanstalk, Alice in Wonderland, Disney’s The Magic Box), Yahto Kraft (Meat Loaf: The Rebel Ride, The Addams Family: The Musical, Malo and The Moon Maiden); Jonathan Raath (West Side Story, Matilda The Musical, CHICAGO The Musical) and Ashley Scott (The Sound of Music, Disney’s The Magic Box, CHICAGO  The Musical).

The over 50 all-South African company includes the 24-member cast, 6-piece band, crew and creative team.  Pretty Woman: The Musical is produced by Showtime Management in association with Crossroads Live North America. The combined South African and international creative team includes Rusty Mowery (Associate Director and Associate Choreographer) and Will van Dyke (Musical Supervisor) from New York, working with South African’s Resident Director and Choreographer, Darren Greeff supported by Assistant Resident Director, Brett De Groot and Assistant Resident Choreographer, Alexandra Girard. Musical Director, Daniel Geddes will lead the band, assisted by Assistant Musical Director, Luigia Cassaleggio. Alistair Kilbee of GearhouseSplitbeam is Pretty Woman: The Musical’s Technical Director and Peter Taylor is the Company Manager.

Pretty Woman: The Musical premiered on Broadway in 2018 and has also enjoyed acclaimed runs in the West End and tours across North America and Europe. The show and its story of the unlikely romance of the rough-edged Vivian and refined businessman Edward is uplifting and fully of joy, combining love, laughter, nostalgia and chart-topping songs to make each performance an enjoyable trip down memory lane.

The show features a book by Garry Marshalland J. F. Lawton, the creators of the original Pretty Woman film; songs by Bryan Adams and Jim Vallance and direction and choreography by Tony Award® winner Jerry Mitchell.

“We’re so proud to be able to produce the debut South African run of this wonderful modern musical, and to do so with an all-South African cast, crew and band,” says Hazel Feldman of Showtime Management. “The story will take audiences back to the classic film, and they’ll also fall in love with the fantastic music and the incredible performances of our actors, singers and dancers.”

Owing to strong adult themes, this production has a PG rating of 12+. Parental guidance is advised. Terrific Tuesday discounts available. Ts and Cs apply. A 20% block booking discount is offered on groups of 20+ on selected shows for specific price categories.

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Top Star Drive-In: The Cinema on the Mountain of Gold

The Ferreira Dump began growing in the late 1800s, composed of the crushed rock and chemical residue left over after early, inefficient mining processes had extracted as much gold as the technology of the time allowed. By the 1960s, it was a flat-topped, man-made mesa overlooking the city. In a stroke of entrepreneurial genius, the surface was tarred and the Top Star Drive-In was opened. It quickly became a South African institution. Its appeal was not just the movies, but the unparalleled view: as the sun set, the massive white screen would flicker to life against a backdrop of the glowing skyscrapers of the Central Business District, separated from the viewer only by the elevated M2 highway.

In the decades before television arrived in South Africa (1976), the Top Star was a primary social hub. It was a democratic space in an undemocratic time; while the city below was strictly segregated, the “car” served as a private bubble that allowed a degree of social freedom not found in traditional theaters. For many Johannesburgers, the Top Star was a site of nostalgic rites of passage—first dates, family outings where children were piled into the back of station wagons with blankets and flasks of tea, and the Saturday “car market” where the parking lot transformed into a sprawling hub for buying and selling second-hand vehicles.

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